Archive for the Composers category

The 12th Cadaqués Orchestra International Conducting Competition coming soon!

Posted by Soledad Sánchez Bueno on July 31, 2017  |  Leave a comment

The 12th Cadaqués Orchestra International Conducting Competition will be held from 14 to 18 December 2017, with the preliminary round lasting from 11 to 13 of the same month. Our ONLINE application portal will be open as of Friday 30 June 2017 at 10 a.m. Spanish time and will finish Friday 8 September.

The winner of the Cadaqués Orchestra International Conducting Competition will conduct at least one concert with all the orchestras collaborating in the competition throughout the seasons 2017-18, 2018-19 and 2019-20.

The orchestras who make a commitment to the competition and entrust the jury with the responsibility of choosing the winner are the real stars. Their trust is what makes the award unique in the world of orchestral conducting competitions, and what makes it, rather than a mere recognition of talent, into a solid platform supporting the professional career of the winner.

Registration deadline

From: 30 June 2017

To: 8 September 2017

Only completed applications submitted before midnight on 8 September 2017 (12:00PM GMT +1), will be accepted.

Repertoire

First round:

Arnold SCHÖNBERG: Pierrot Lunaire, Op. 21 (Universal Edition);

Second round:

Wolfgang Amadeus MOZART: Symphony No. 41 in C major, (Bärenreiter);

Third round:

a) Juli GARRETA: Impressions simfòniques para orquesta de cuerda  (Tritó Edicions);
b) Ludwig van BEETHOVEN: Symphony No. 7 in A major (Breitkopf & Härtel);

Fourth round or semi-final:

Gabriel ERKOREKA: “Tramuntana”, work commissioned for the competition. (The score will be distributed to the contestants on the opening day of the competition). This work will not be on sale or otherwise available before the opening day of the competition.

Final:

a) Gabriel ERKOREKA: work commissioned for the competition;
b) Vicent MARTÍN I SOLER: Recital and aria of L’arbore de Diana: “Perfidi! In questa guisa… – Sento che dea son io” for soprano and orquesta (Tritó Edicions);
c.1) Johannes BRAHMS: Variations on a Theme by Joseph Haydn, Op.56a (Breitkopf Urtext, nº 3692)
c.2) Robert SCHUMANN: Overture, Scherzo and Finale, Op.52 (Breitkopf Urtext, nº 5527)

These are the recommended editions because they are the ones used by the Orchestra. If the contestants use other editions they may encounter problems with the bar numbers and the rehearsal letters.

The scores can be ordered from Tritó Edicions  www.trito.es

Set Tritó

Complete set

More details at Cadaqués Orchestra’s web

New commissions and recordings by Ramon Humet

Posted by Soledad Sánchez Bueno on May 4, 2015  |  Leave a comment

Next season 15/16 will see the world premiere of the new commission from Orquesta Nacional de España to our composer Ramon Humet: ‘El temps i la campana’ (Time and the Bell), for piano and orchestra, work that will be premiered on 23, 24 and 25 october 2015 at Auditorio Nacional, in Madrid (Spain), with Yukiko Akagi as a soloist and under the battom of Guillermo García Calvo. This 25-minute long work, is inspired by some verses of “Four Quartets” by T.S. Eliot, an author that humet loves so much.

Also, next season there will be the world premiere of a new piece for Ensemble Orquestra de Cadaqués, on 14 march 2016 in a concert conducted by Ernest Martínez Izquierdo at Auditorio 400 Museo Reina Sofía, Madrid (Spain).

Finally, there will be the long-waited release of the new recording of “Martha Graham”, on Neu Records label, with Claron McFadden, Kakizakai Kaoru, Alberto Rosado and Neopercusión. This project has been recorded with the most advanced technology of 3D recording, and a special accurated graphic design, in order to give a poetic, musical and visual manifest of the extraordinary american choreographer Martha Graham.

New CDs from Tritó

Posted by Soledad Sánchez Bueno on March 3, 2015  |  Leave a comment

Over recent months, we have given out new titles from our collection. We remain with our purpose of recovering Spanish repertoire and promoting the works of new Spanish composers.

Works by Joan Guinjoan, Albert Guinovart, Felip Pedrell … all of them included at new recordings performed by the Cadaqués Orchestra or theOrquestra de Barcelona i Nacional de Catalunya.

New releases that will hopefully awaken your interest.

Premiere of the opera-oratorio Sky Disc, by Ramon Humet and Rebecca Simpson

Posted by Soledad Sánchez Bueno on September 2, 2013  |  2 Comments

Licensed under the Creative Commons Attribution: DbachmannAfter three years involving extensive research and intense work, the creative duo Rebecca Simpson (idea and libretto) and Ramon Humet (music) present their opera-oratorio Sky Disc (Himmelsscheibe / Disc del cel).

The first performance of Sky Disc will take place on 2nd October 2013, at Bühnen Halle Oper (Halle, Germany). Andreas Henning is musical director, G.H. Seebach is the stage director, costumes are by Ragna Heiny, with set-design by Hartmut Schörghofer and video by Anke Tornow. André Meyer is the dramaturg, Jens Petereit the choirmaster, and the soloists are Gerd Vogel (Fierket), Sandra Maxheimer (Guueren), Maria Petrasovska (Estria), Robert Sellier (Pyrpi) and Hiltrud Kuhlmann (Tamar), Ulrich Burdack (Boatman), Ki-Hyun Park (Priest), Julia Preußler (Boy) Kaori Sekigawa (Solo voice).  Rehearsals began at the end of June and, after the summer break, pick up again in September; librettist and composer will be in Halle to work directly with the production team.

Rebecca Simpson’s libretto uses the fact that, at the end of the Early Bronze Age of central and northern Europe, remarkable cultures were connected by trade and travel and elite bronze workers were the technology experts of the time.  The Nebra Sky-disc, unearthed in 1999 in Germany, is the world’s earliest known representation of the night sky. It encoded information that enabled the alignment of the solar and lunar calendars, allowing more effective agriculture. The libretto of the opera-oratorio Sky Disc contemplates the archeological object from today’s perspective in the choral sections, while the opera’s story takes place on a single day in the region where the Nebra Sky-disc was discovered: in the Bronze Age village where it belongs, on a river by night, and on the Mittelberg hill-top.

Ramon Humet’s music develops on two complementary performance levels, creating a musical form of complex evolution. On one hand there is the opera story with its dramatic action revolving around the archeological object, with a lively tempo on a human scale and precise and specific instrumentation. On the other hand, there is the oratorio with its choral sections comprising  reflections related to the object and the action, with a tempo that is spacious and fluid.

Sky Disc is a large-scale work, lasting 1 hour and 50 minutes, with 9 vocal soloists, a mixed choir (SATB) and symphonic orchestra. The opera-oratorio will be given sic performances: 2nd October, 6th October, 18th October, 23rd October, 9th and 24th November 2013, as part of the Bühnen Halle theatre’s Autumn-Winter season.  The theatre`s general programme can be downloaded SkyDisc-Dossier. The cast list and artistic credits, together with a synopsis and further explanation of the ideas behind the work, can be downloaded here.

Josep Soler, from Munich to Barcelona

Posted by Soledad Sánchez Bueno on June 7, 2013  |  Leave a comment

Tomorrow, Saturday, will be held in Munich a concert with works from the CD Josep Soler & Alban Berg recently published.
It will take place in the Lehrinstitut Bencic at 19:00. Miguel Simarro and Robert Schröter also will perform works by Robert Schumann, Antonio Jimenez Manjarrez, César Filguerido Guelbenzu and Joaquin Nin.
Some of works included in this CD will be presented at the concert:
Josep Soler (1935)
Introduction, Fugue und Giga
Fragment of Sonatina
Aus Meditationen Sant Francesc
Alban Berg (1885-1935)
Sonata V (unvollendet) für Klavier only
Moreover, on Wednesday June 12 at 20:30 a new concert will be held at the Escola Superior de Música de Catalunya .
If you are interested going there you can get a discount. You just must print the poster published in this post.
No doubt, another opportunity to attend one of the most important and recent events in the musical state.

“Pepita Jiménez” on the Teatros del Canal

Posted by Soledad Sánchez Bueno on May 14, 2013  |  1 Comment

Finally, we will have the chance to assist to the production of Pepita Jiménez, in Madrid, that was released on October of 2012 in the Teatro Argentino de la Plata. On the one hand, this production is the result of a collaboration between the Teatros del Canal and the Teatro Argentino de la Plata, and on the other hand, it represents the crystallizing of the collaboration with Tritó, which keeps giving fruitful results.

The plot of the work, based on a novel by Juan Valera, has been adapted by Francis Money-Coutts and turned into music by Isaac Albéniz. The first release of this piece was placed in 1895, and until now it has remained out of the stages. The new publication of the critical edition completed by Borja Mariño, made this production -staged by Calixto Bieito- possible to perform.

Pepita Jiménez will be presented in four exclusive functions on the stage of the Sala Roja, during the days 19th, 21st, 23rd and 25th of May.

Conductor: José Ramón Encinar

Stage director: Calixto Bieito

Scenographic design: Rebecca Ringst

Costume design: Ingo Krügler

Playwright: Bettina Auer

Illumination design: Carlos Márquez / Miguel A. Camacho

Choir conductor: Pedro Texeira

Children’s choir conductor: Ana González

Scenographic design’s assistent: Zosia Dowjat

Repeater pianist: Javier Martínez

Stage manager: Pedro Tojar / Nieves Garcimartín

Tailoring: Isabel López/ Natalia Cieza

Props: Ana María Serpa / Gonzalo R. Checa

Characterization: Joel Escaño

Subtitles: 36 caracteres

Production director: Leticia Martín

Scenographic production executed in the ateliers of the Teatro Argentino de la Plata

Great premiere of “Tientos y batallas” by Gabriel Erkoreka

Posted by Soledad Sánchez Bueno on March 5, 2013  |  Leave a comment

Yesterday afternoon, the premiere of Tientos y Batallas, by Gabriel Erkoreka -a piece filled with echoes from the Renaissance- was performed in the Auditorium 400 of the Museo Nacional Centro de Arte Reina Sofía by the Sax Ensemble, conducted by José Luis Temes.

The newsletter “El Cultural” interviewed the composer moments before the performance. We transcribe the interview below, originally executed by Benjamín Rosado:

Pregunta.- Tras la “resaca” de las vanguardias, ¿qué llama la atención a un compositor de nuestros días de los modos de componer del Renacimiento?

Respuesta.- Para mí no es algo nuevo. En varias ocasiones he hecho referencia a la música renacentista. Por ejemplo, la fascinación por Giovanni Gabrieli me llevó a crear una conexión entre sus cori spezzati, en la Basílica de San Marcos de Venecia, y mi obra HAMAR, que hice para los espacios del Museo Guggenheim en su décimo aniversario.

P.- A partir de 1800 el tiento perdió su popularidad, pero fue recuperado por algunos compositores del siglo XX, como Cristóbal Halffter y Manuel Castillo. ¿Ha tenido en cuenta estas u otras aportaciones más recientes?

R.- He escuchado la magnífica obra para gran orquesta de Cristóbal Halffter en varias ocasiones, pero en la mía hago un acercamiento distinto, como no podía ser de otra manera, debido a la diferencia entre los medios empleados. Mis batallas sólo aluden a Cabanilles y Aguilera de Heredia en algunos pequeños arquetipos melódicos y rítmicos; y sin llegar a ser derrotistas, tienen poco de heroicas.

Mis batallas sólo aluden a Cabanilles y Aguilera de Heredia en algunos pequeños arquetipos melódicos y rítmicos; y sin llegar a ser derrotistas, tienen poco de heroicas.

P.- ¿Hasta qué punto la obra se empapa de los tiempos actuales?

R.- Podría decir que en los tientos se ofrecen unas miradas al pasado a través de lentes distintas, pero en las batallas procuro, en cambio, reflejar el mundo tal cual lo veo a través de mi ventana. La crisis no es de creatividad. Hoy, más que nunca, hay que proteger la música contemporánea, tan vulnerable en estos días, de los ataques externos.

P.- ¿Cuánto tiene esta obra de “estudio”, de aprendizaje técnico?

R.- La obra está escrita para cuarteto de saxofones, piano y percusión, y presenta una variedad de texturas, algunas de naturaleza contrapuntística. Requiere de una cierta ductilidad en la producción del sonido por parte de los saxofones, a menudo en pianissimo en los registros extremos.

P.- El Sax-Ensemble es una singularidad. ¿A qué aspectos sonoros y rítmicos de su universo creativo le ha permitido sacar más partido?

R.- El saxofón es un instrumento muy versátil. En otras obras como Duduk I y II lo he relacionado con el oboe armenio, o en Yidaki con el didjeridú australiano. En este caso hay una oposición entre el tratamiento de los saxofones por un lado, que en general funcionan como un consort de cornettos y sacabuches, y el piano y la percusión, que exageran ese mundo en cuestiones de dinámica y registro.

P.- Dice en las notas del programa que “de la oposición entre tradición e innovación nace un nuevo orden formal, no exento de cierto dramatismo”. ¿A qué se refiere exactamente?

R.- ¿Eso he dicho? Pues no me toca a mí decirlo, así que ¡ya me estoy arrepintiendo! Lo que sí puede haber en la obra es una oposición entre unas secciones más luminosas y otras más opacas.

P.- ¿Cómo dialoga Tientos y Batallas con el resto de obras del programa Dos generaciones vascas?

R.- Posiblemente surja un diálogo con las otras obras del programa, pero no ha sido buscado, al menos conscientemente. En efecto, se da la circunstancia de que todas las obras son de compositores vascos, pero también hay que decir que faltan muchos nombres, tanto de una generación como de otra.

P.- ¿Qué otros proyectos le ocupan estos días?

R.- Tengo entre manos dos obras de cámara, y en breve me pondré con una obra de gran formato para piano solo, mi instrumento, que me apetece mucho. Paralelamente sigo con mis clases de composición en Musikene, y con la coordinación del Ciclo de Conciertos de Música Contemporánea Fundación BBVA en Bilbao, que está teniendo una gran aceptación entre el público.

Feliu Gasull at the Nacional Auditorium of Madrid

Posted by Soledad Sánchez Bueno on March 1, 2013  |  2 Comments

Ensayo general Tonades - Feliu Gasull

Today in the afternoon there’s the world premiere of Tonades for voice, guitar and orchestra, in the Nacional Auditorium of Madrid.

The piece consists of a collection of seven peasant songs from Catalunya, Mallorca and Valencia. The unmistakable character of the composer, his irony, craftiness and wit are mirrored into the seven songs filled with mediterranean evocations.

Through a special treatment of the orchestration, the composer makes the popular component of the melodies emerge.

Feliu Gasull gets a direct complicity with his audience, without falling into the predictable. During an interview recorded for RTVE, the composer commented: “We have been a lifetime ignoring the south, always looking at the center of Europe, and I didn’t want to miss what the south offers to us, that is brutal.”

The Nacional Orchestra of Spain, conducted by Josep Pons, Feliu Gasull as the guitar soloist and the singer Silvia Pérez Cruz -newest Best Song of the Goya Awards 2013- will be the responsibles to perform the three concerts programed for this weekend.

The appointments are today and tomorrow (march 1st and 2nd) at 19:30, and the next sunday (march 3rd) at 11:30.

Jesús Torres, in-house composer, wins the 2012 Spanish National Music Prize. Congratulations!

Posted by Redacción on November 29, 2012  |  Leave a comment

The in-house composer, Jesus Torres, has just been awarded the 2012 Spanish National Prize for Music in the composition category by the Ministry of Education, Culture and Sports.

On conferring this distinction on the composer Jesús Torres, the panel of judges cited “his fruitful artistic career in which his latest work Apocalipsi, written in 2011, deserves special mention”, as well as mentioning “his human values and perseverance in an independent aesthetic idea.”

Everyone in the team at Tritó is delighted by the composer’s success and we send him our congratulations.

The panel of judges was presided over by Miguel Angel Recio Crespo, Director General of the National Institute of Performing Arts and Music (INAEM).
The other members were Remedios Navarro, Silvia Márquez, Mercedes Zavala, María Luisa Manchado, Antonio Moral, Fernando Turina, Alberto Posadas (Spanish National Music Prize for Composition in 2011) and Pedro Gandía (Orquestra Barroca de Sevilla, Spanish National Music Award 2011 for Performance). Antonio Garde, Deputy Director of Music and Dance at the INAEM, acted as vice-president.

Jesus Torres’s work is published by Tritó and he has also released two albums on the Tritó label: Sinfonía, Movimiento y Partita and Tres Sinfonías

Pepita Jiménez in Argentina

Posted by Soledad Sánchez Bueno on October 11, 2012  |  5 Comments

Two versions of the opera Pepita Jiménez (Isaac Albéniz) are included in TRITÓ’s catalogue . The original English libretto was written by Francis Money-Coutts which and was based on a novel by Juan Valera.

In our first edition, the editor, José de Eusebio, worked with the third version from 1904 . The second version was edited by Borja Mariño who worked with the second version from 1896 (premiered in Prague).

On next October 28 th, the Teatro Argentino de la Plata will host three premieres: the American premiere of Pepita Jiménez, the world premiere of our second edition and the first performance in Argentina of a staging by Calixto Bieito.

The musical conductor will be Manuel Coves and the cast is formed by Nicola Beller Carbone conform, Enrique Ferrer, Adriana Mastrángelo, Victor Torres, Jose Antonio Garcia, Sebastian Angulegui, Francisco and Juan Pablo Labourdette Bugallo with the Coro y orquesta estables del Teatro Argentino.

The Argentinian premiere of Pepita Jiménez Argentina is possible thanks to the collaboration of Teatros del Canal (Madrid) and the Teatro Argentino de la Plata.

We look forward to receive good news from the Argentinian premiere of one of the most unknown and best scenycal works by Albeniz.

“Zigor” and “Fuegos” conducted by Pierre-André Valade

Posted by Soledad Sánchez Bueno on October 10, 2012  |  Leave a comment

The Bilbao Symphony Orchestra, under the batom of Pierre-André Valade, one of the most important  worldwide specialists in modern and contemporary repertoire, will offer a special concert on Thursday October 11 at 8 pm at the Teatro Campos Elíseos de Bilbao.
The program includes the premiere of Fuegos in Euskadi by  Gabriel Erkoreka which received the Queen Sofia Prize for Composition in 2008 and the premiere of the Symphonic Fragments of Zigor, Escudero Francisco Opera.
There will be also performed, El silencio de las piedras by Jesús Echevarría and Cobermòrum de J. Vicente Egea.
It is possible to purchase tickets at the website of the theater.

Our composers in the 2012/2013 CNDM season

Posted by Soledad Sánchez Bueno on June 11, 2012  |  Leave a comment

The 2012-2013 season of CNDM in Spain presents a program of more than 102 concerts and pedagogycal activities.

Every year the CNDM ask for works to the most important composers in Spain. In this year we will be attend to the premiere of Tientos by Gabriel Erkoreka.

In words of the CNDM organizers  the cycle Series 20/21:  ”As happened last year, the choice of composers has been made in an open and agreed with the performers, fleeing on purpose of personal style or prevailingtendencies”

One of the concerts that will be presented on the Centro Galego de Arte Contemporánea (CGAC), the Arbós Trio will performance Trio (2001) that the composer Jesús Torres devoted to this group. TRITÓ is pleased to detect that one of his composers is always present on the festivals of contemporary music.

As happened last year, the choice of composers has been made in an open and agreed with the performers, fleeing on purpose of personal style or prevailing tendencies.

In the other hand and also in the program is included L’infinit by Jesus Rueda. It will be performed on the Museo Nacional de Arte Reina Sofia.

These are just some of the interesting proposals CNDM season.  We suggest you consult the program of the season CNDM to avoid getting lost any proposal of interest.

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